An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...

An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...

Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...

Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...

Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...

Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport.
Local composer Nolan Gasser’s Sonoma Overt...

Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...

Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater.
Conductor Marc Taddei opened the Sunday program with a rousing performance of B...

Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...

Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...

After a long dry spell Sonoma County seems to be seeing a flood tide of fine violin playing. David McCarroll, Roy Malan, Michael Ludwig and Vadim Gluzman have played recent concerts, and San Francisco State University Professors Jassen Todorov and William Corbett-Jones continued the trend in a dramatic recital Oct. 31 in SRJC’s Newman Auditorium for the Concerts Grand series.

Before an audience of 112, sprinkled with string players, Tartini’s G Minor Sonata (Devil’s Trill) launched the program. It’s a walk in the park for the piano part but technically demanding for the violin. Mr. Todorov handled the long cadenza, penned by Fritz Kreisler, with aplomb and plenty of trills of varying speeds and intensity. The Andante was especially effective, its repose needed from the restless nature of the work. There isn’t much for the piano to do here but Mr. Corbett-Jones, a long-time favorite for audiences in Santa Rosa, ably contributed the continuo line.

Things changed with Respighi’s brawny Sonata in B Minor, rarely heard and a composition that was received with anticipation by many, as only the Heifetz-Bay recording from 1950 has gained any notice, at least compared with contemporary sonatas by Strauss, Busoni, St. Saens and Elgar. Composed in 1917 and reflecting the carnage of World War I, the Sonata is a dark odyssey, bright at times but ultimately a sad travail with vocal lines in high string registers and rumbling tremolos and rapid left-hand passages for the pianist. Mr. Todorov was up to the demands of the writing, taking judicious tempos in each of the three movements, his not large but fully penetrating tone carrying throughout Newman’s less-than-reverberant acoustics. The lovely Andante Espressivo was played in the Romantic vein but also impressionistically, the violinist deftly phrasing the music and mirroring the piano line. In the concluding Passacaglia the performers had difficulty staying together, the necessary momentum slipping away before Mr. Corbett-Jones’ descending double octaves brought the Sonata to a rousing end. Mr. Todorov, with a powerful F Sharp-D-B passage, graciously gave the last sound to his partner. It was a performance that wasn’t ready for a microphone but still elicited a standing ovation and the assembly knowing it had heard a trenchant violin work of prismatic passion.

Order was restored after intermission with the famous Beethoven A Major Sonata, Op. 47 (Kreutzer), a performance that found both musicians on familiar ground. This is a Sonata played by every virtuoso violinist, the two propulsive outer movements framing a quiet Andante con variazoni in the placid key of F Major. The duo had plenty of frenzied competition in the opening Adagio Sostenuto – Presto, Mr. Todorov’s bow often slashing in figurations and digging deep into the stormy sections.

The finale was performed in a more playful and generous mode, the accents telling and sharply opposed to the heroic nature of the first movement. In summary, this is a radical work, written in 1803 with the Eroica Symphony, and Messrs. Todorov and Corbett-Jones made the most of the Sonata’s architecture, underscoring the rhetoric without opting for a reading that would fill a larger hall.

Two encores were offered, the second a "perpetuum mobile" performance of François Schubert’s (1808 - 1878) innocuous “L’Abielle” (The Bee), redolent with Mr. Todorov’s speedy left-hand slurred crossings. However, it was the first encore, Tchaikowsky’s melancholy “Melody in E” from the Brailovo Suite, that generated rapt silence in the hall. It was Oistrakh’s encore in his American debut recital, and here as in 1955 there were not many dry eyes in the house.